SLOVENSKA KINOTEKA
PREMESTITVE POGLEDOV: INTERIER, EKSTERIER IN NADREALNO / TRANSFER OF VIEWS: INTERIOR, EXTERIOR AND THE SURREAL
Drugi večer plesnih filmov po izboru Matjaža Mraka / Second evening of dance films selected by Matjaž Mrak
Ameriška eksperimentalna filmska ustvarjalka Maya Deren (1917–1961), pomembna glasnica avantgarde v štiridesetih letih 20. stoletja, je navdih za eksperimentalne filme iskala v plesu, haitijskem vuduju in subjektivni psihologiji ter na podlagi tega oblikovala niz nadrealističnih črno-belih kratkih filmov, ki na nenavaden, drzen, subtilno artaudovski način spajajo interier in eksterier; notranjo, subjektivno, ter zunanjo, prostorsko perspektivo, ki premešča gib posameznika v drug prostor, čas in kontekst. In če je za Mayo Deren film predstavljal predvsem ustvarjanje izkušenj, je vodilo drugega večera plesnih filmov po izboru Matjaža Mraka subtilna premestitev jezika giba onkraj silnic izkustvene naracije, človeške komunikacije ali gravitacije.
Vsebinska os kratkih plesnih filmov, ki poteka v organizaciji Kinoteke in Plesnega Teatra Ljubljana, tako odraža svojstven, mestoma »derenovski« eksperimentalni značaj, saj gre za redke (in skoraj ne več videne) bisere slovenske plesno-filmske produkcije, ki jih je bilo treba »izkopati« iz arhivov in premestiti – do nas! Njihova časovna os je postavljena od leta 2008 vse do leta 1975. Tudi v drugem plesnem večeru bodo na ogled filmi najvidnejših slovenskih plesnih ustvarjalcev: 10 let (Peter Bratuša, 2008; koreografija: Rosana Hribar & Gregor Luštek), Kje so tiste stezice (Katarina Nikolov, 2003; koreografija: Branko Potočan), Neiztrohnjeno srce (Simon Obleščak, 2000; koreografija: Tanja Skok), Narava Beso (Iztok Kovač / Sašo Podgoršek, 1995; koreografija: Iztok Kovač), Rdeči čeveljčki (Marina Gržinić / Aina Šmid, 1994; koreografija: Sinja Ožbolt), Odplesati življenje (Tone Stojko, 1991; koreografija: Jasna Knez) in Xenia na gostovanju (Filip Robar Dorin, 1975; koreografija: Ksenija Hribar). Po projekciji filmov bo sledil pogovor z ustvarjalci tako na eni kot na drugi strani kamere, ki premeščajo realistične predstave o fizičnem prostoru in času, o gibu in pogledu ter o njunem (nenavadnem) spoju.
Andreja Kopač
American experimental filmmaker Maya Deren (1917–1961), an important voice of the avant‑garde in the 1940s, sought inspiration for experimental films in dancing, Haitian voodoo, and subjective psychology, and used them to create a series of surrealist black and white short movies combining in an unusual, bold, subtle Artaudian manner the interior and exterior; the internal, subjective, and the external, spatial perspective which transfers the individual’s movement into another space, time and context. And if Maya Deren viewed film primarily as a creation of experiences, the guiding principle of the second evening of dance films selected by Matjaž Mrak is a subtle transfer of the language of movement beyond the forces of experiential narration, human communication or gravitation.
The underlying theme of the short dance films, organized by Kinoteka and Dance Theatre Ljubljana, thus reflects a unique, in parts “Derenian” experimental character – after all, we are talking about rare (and rarely seen anymore) gems of Slovenian dance‑film production, which had to be “dug out” of the archives and transferred – to us! Their timeframe spans from 2008 all the way back to 1975. The second dance evening will also offer films by the most prominent Slovenian dance artists: 10 years (Peter Bratuša, 2008; choreography: Rosana Hribar & Gregor Luštek), Where Are Those Paths (Katarina Nikolov, 2003; choreography: Branko Potočan), Heart Unputrefied (Simon Obleščak, 2000; choreography: Tanja Skok), Beso Nature (Iztok Kovač / Sašo Podgoršek, 1995; choreography: Iztok Kovač), Red Shoes (Marina Gržinić / Aina Šmid, 1994; choreography: Sinja Ožbolt), To Dance Away Life (Tone Stojko, 1991; choreography: Jasna Knez) and Xenia On Tour (Filip Robar Dorin, 1975; choreography: Ksenija Hribar). The screening will be followed by a conversation with the authors on both sides of the camera, who are transferring the realistic views of the physical space and time, of the movement and the view, and of their (unusual) connection.
Andreja Kopač
INFO / REZ: ptl@mail.ljudmila.org, info@ptl-lj.si, Moje karte
Vstopnice / Tickets: 4€, eno uro pred prvo predstavo v Slovenski Kinoteki / an hour before the first performance at Slovenian Cinematheque
Program Plesnega Teatra Ljubljana sofinancirata Ministrstvo za kulture RS in Mestna občina Ljubljana, Oddelek za kulture / The programme of Plesni Teater Ljubljana is subsidized by the Ministry of Culture RS and Municipality of Ljubljana, Department for Culture / Ljubljanan tanssiteatterin toimintaa tukee Slovenian kulttuuriministeriö ja Ljubljanan kulttuuritoimi
Foto / Photo: TONE STOJKO, MIRKO SIMIČ
O filmih
Film: KJE SO TISTE STEZICE
Nastopajoči / soavtorji, člani fizičnega teatra Fourklor: Tina Janežič, Jana Menger, Branko Potočan, Sebastjan Starič, Dušan Teropšič
Film je podprla nacionalna televizija RTV Slovenija in je bil narejen leta 2003.
Kje so tiste stezice je kratek plesni film o neprestanem iskanju svojega resničnega jaza. Brezglavo drvenje skozi dnevno rutino je pot proti odtujenosti in propadu. Dve identični zgodbi iz različnih okolij prikazujeta bistvo tega peklenskega tempa.
Film: NEIZTROHNJENO SRCE
Koreografsko in plesno je pesem oblikovala Tanja Skok, film je režiral Simon Obleščak, glasbo pa napisal Drago Ivanuša.
V televizijski upodobitvi uglasbenih ali koreografsko postavljenih Prešernovih pesmi po idejni zamisli urednice Danice Dolinar je avtorje navdihnila pesem Neiztrohnjeno srce. Koreografsko in plesno jo je oblikovala Tanja Skok, film je režiral Simon Obleščak, glasbo pa je napisal Drago Ivanuša.
Film: ODPLESATI ŽIVLJENJE
Avtorski ples: Jasna Knez
Video posnetek: Tone Stojko, 1991
Fotografije: Tone Stojko (1985–1997)
Kostumi: Jana Knez
Maska: Alenka Nahtigal
Video je bil posnet v Mali drami, Ljubljana
Glasba: Damir Mazrek, Andrej Hrvatin
Glasba posneta v studiu Satoration, 2012
Video montaža: 2012
Jasna Knez odplesati življenje…
Pariz - mala drama, London - mala drama, Dragonja - mala drama
Film: 10 LET
Režiser: Peter K. Bratuša
Direktor fotografije: Peter K. Bratuša
Koreografa in izvajalca: Rosana Hribar, Gregor Luštek
Scenograf: Ibrahim Isovič, Dejan Štefančič
Kostumograf: Vesna Črnelič
Montažer: Svetlana Dramlić
Oblikovalka maske: Tina Lasič Andrejević, Maja Špacapan
Oblikovalec zvoka: Sebastijan Duh
Snemalec: Jure Verovšek
Ostrilec: Sabina Smodej, Robert Remškar
Asistent snemalca: Gregor Galjot
Oblikovalec luči: Andrej Gorenc
Oblikovanje luči: Jože Žabkar, Tomaž Grdjan, Robert Oberč
Snemalec zvoka: Tadej Toplak
Asistent kostumografa: Nives Vrabl
Producent: Aleš Loborec
Avtobiografski plesni film 10 let, ki govori o medsebojnem odnosu Rosane Hribar in Gregorja Luštka, je klasična gibalna raziskava profesionalne in intimne povezanosti med plesalcema in časovno zajema natanko toliko let, kot jih omenja naslov. V intenzivnih desetih minutah plesa prehaja plesni jezik med nežnimi in agresivnimi deli, v polju nenehnega pretikanja registrov med klasično baletno in sodobnejšo energijo. V filmu spremljamo na trenutke avtobiografsko zgodbo para, povezanega intimno in profesionalno, kako se njune stiske, strasti, čustva, problemi, želje, izražajo skozi gibanje. Ta zgodba je njuna in hkrati univerzalna. Prenos plesa v druge, nove kontekste in lokacije, slednjim daje novo dinamiko, ritem in sporočilnost. Namen ni prenos plesne predstave na drug medij, ampak ustvariti novo umetniško delo, ki se navdihuje in prepleta z plesom.
Film: NARAVA BESO
Koncept in koreografija: Iztok Kovač
Režija in montaža: Patrick Otten in Iztok Kovač
Direktor fotografije: Patrick Otten
Ustvarjalci in izvajalci: Maja Delak, Eva-Maria Michel, Rebecca Murgi, Juho Saarinen, Carmelo Scarcella, Iztok Kovač
Violina: Eva-Maria Michel
Oblikovanje zvoka: Charo Calvo
Snemanje zvoka: Hanna Preuss-Slak
Kostumografija: Isabelle Lhoas
Asistent kamere: Jasenko Rasol
Glavni osvetljevalec: Francis Gahide
Produkcija: EN-KNAP
Film Narava Beso je bil posnet v desetih dneh julija 1994. V odnosu do predhodnega koreografskega opusa Iztoka Kovača in skupine EN-KNAP predstavlja film Narava Beso neke vrste razširitev in dopolnitev poetske strukture, ki se postopoma oblikuje skozi koreografske stvaritve (Kako sem ujel Sokola, Razširi krila (Slon nerodni)). Narava filmskega medija namreč omogoča pokazati prav tisto, kar lahko na odru obstaja samo v obrisih, v obliki reduciranih znakov, ki samo nakazujejo svojo zvezo z neko konkretno prostorsko realnostjo.
Narava Beso na eni strani odkriva povsem osebni odnos Kovača z realnimi ambienti rojstnega mesta, na drugi strani pa v umetniški artikulaciji ta odnos dobiva širše konotacije in se oblikuje v poetsko strukturo razumevanja aktualnega sveta.
Z upodabljanjem človeka konec 20. stoletja, na sledi za zabrisanimi zgodovinskimi silnicami svoje odtujenosti, Narava Beso oblikuje poetsko strukturo, ki je komplementarna izrazito formalni strukturi plesnih predstav skupine EN‑KNAP, saj s pomočjo filmskega medija poglobljeno spregovori o naravi subjektivnosti, o naravi občutenja in razumevanja sveta, ki se ga s formalizirano govorico giba trudi zaobjeti tudi v gledališču.
Eda Čufer
Film: XENIA NA GOSTOVANJU
dokumentarni, 12 min, 1974, Slovenija
Režiser: Filip Robar Dorin
Scenarist: Karpo Aćimović Godina, Ksenija Hribar, Filip Robar Dorin
Direktor fotografije: Karpo Aćimović Godina
Avtor glasbe: arhivska
Montažer: Filip Robar Dorin
Nastopajoči: Ksenija Hribar, Mojmir Lasan
Produkcija: Viba film, Ljubljana
Ples je vedno zbliževal ljudi. Slikovita prispodoba odnosa med vsakdanjim življenjem in umetnostjo, ki jo poosebljajo baletka Xenia in prebivalci otoka Suska. Gostovanje svetovljanske umetnice vse bolj postaja metafora za občutek njene ujetosti v trde zakonitosti resničnosti, ko plesalka začuti, da se v njeno vero v umetnost in lepoto izraza vztrajno zajedajo znanilci krize; vpraša se, ali ni njena umetnost samo velika iluzija.
Film: RDEČI ČEVELJČKI
Film je bil leta 1995 nagrajen na festivalu televizije, videa in gledališča TTV Riccione v Italiji.
Betacam SP PAL, 8 min, barvni
Produkcija: Plesni Teater Ljubljana in Videoprodukcija Kregar, Ljubljana, 1994
Izvirni naslov: RDEČI ČEVELJČKI
Režija: Marina Gržinić, Aina Šmid
Koreografija: Sinja Ožbolt
Plesalca: Olga Kori, Fredi Fontanot, Dominika Kacin, Jana Menger, Uršula Teržan, Sabina Potočki
Glasba: Mario Marolt
Kamera: Mirko Simič
Montaža: Andrej Kregar
Oblikovanje zvoka: Marina Gržinić, Aina Šmid
Predelava in priredba predstave Rdeči čeveljčki za kamero v sodobno plesni koreografiji Sinje Ožbolt. Okolico in arhitekturno umestitev filma sta skrbno izbrali Marina Gržinić in Aina Šmid. Gre za kraj »z zgodovino« – kompleks vojašnic na Metelkovi ulici v središču Ljubljane.
Vojaški kompleks na Metelkovi so v 1990‑ih letih zasedli slovenski umetniki, kulturni delavci, aktivisti za človekove pravice in mirovniki, ki so se s slovensko državo in oblastmi ljubljanske občine borili za prostor za nove družbene in umetniške dejavnosti. Metelkova je simbol boja za nove državljanske in kulturne pravice v Sloveniji 90‑ih letih prejšnjega stoletja.
About the films
Film: WHERE ARE THOSE PATHS
Performers / co-authors, members of the Fourklor physical theatre: Tina Janežič, Jana Menger, Branko Potočan, Sebastjan Starič, Dušan Teropšič
The film was supported by the national television of RTV Slovenija and was made in 2003.
Where Are Those Paths is a short dance film about the constant search for one’s real self. Mindless rushing through daily routine is the path towards alienation and ruin. Two identical stories from different background demonstration the essence of this brutal pace.
Film: THE UNPUTREFIED HEART
Choreographic and dance adaptation of the song: Tanja Skok; film director: Simon Obleščak; music: Drago Ivanuša.
The authors of the television adaptation of Prešeren’s poems set to music or choreography, based on the concept by editor Danica Dolinar, were inspired by the poem The Unputrefied Heart. The poem was set to choreography and dance by Tanja Skok, the film was directed by Simon Obleščak, and the music was written by Drago Ivanuša.
Film: TO DANCE AWAY LIFE
Original dance: Jasna Knez
Video clip: Tone Stojko, 1991
Photography: Tone Stojko (1985–1997)
Costume Design: Jana Knez
Makeup: Alenka Nahtigal
The video was filmed in the Mala Drama theatre, Ljubljana
Music: Damir Mazrek, Andrej Hrvatin
Music recorded in Satoration Studio, 2012
Video editing: 2012
Jasna Knez, To Dance Away Life …
Paris - mala drama, London - mala drama, Dragonja - mala drama
Film: 10 YEARS
Directed by: Peter K. Bratuša
Director of photography: Peter K. Bratuša
Choreographed and performed by: Rosana Hribar, Gregor Luštek
Production design: Ibrahim Isovič, Dejan Štefančič
Costume design: Vesna Črnelič
Editor: Svetlana Dramlić
Makeup artists: Tina Lasič Andrejević, Maja Špacapan
Sound designer: Sebastijan Duh
Cameraman: Jure Verovšek
Camera focus: Sabina Smodej, Robert Remškar
Assistant cameraman: Gregor Galjot
Light designer: Andrej Gorenc
Lighting technicians: Jože Žabkar, Tomaž Grdjan, Robert Oberč
Sound recordist: Tadej Toplak
Assistant costume designer: Nives Vrabl
Producer: Aleš Loborec
Autobiographical dance film 10 years about the relationship between Rosana Hribar and Gregor Luštek is a classical movement research of the professional and intimate connection between the performers, covering a timespan of exactly 10 year, as stated in the title. During the intense 10 minutes of dance, the dance language passes between gentle and aggressive parts, in the domain of constant shifting of registries between classical ballet and a more modern energy. The film depicts the at times autobiographical story of the couple, connected both intimately and professionally, the ways in which their torments, passions, emotions, problems, desires express themselves through movement. The story is both their personal and at the same time universal. Their dancing is being transferred to other, new contexts and locations, giving them new dynamics, rhythm and narrative. Their aim is not to transfer the dance performance to another medium, but to create an entirely new artistic work, inspired and intertwined with dance.
Film: BESO NATURE
Concept and choreography: Iztok Kovač
Directed and edited by: Patrick Otten in Iztok Kovač
Director of photography: Patrick Otten
Created and performed by: Maja Delak, Eva-Maria Michel, Rebecca Murgi, Juho Saarinen, Carmelo Scarcella, Iztok Kovač
Violin: Eva-Maria Michel
Sound design: Charo Calvo
Sound recordist: Hanna Preuss-Slak
Costume design: Isabelle Lhoas
Assistant cameraman: Jasenko Rasol
Chief lighting technician: Francis Gahide
Production: EN-KNAP
Beso Nature was filmed during tend days in July 1994. In relation to the previous choreographic opus of Iztok Kovač and En Knap group, Beso Nature is a kind of expansion and supplement of the poetic structure which is gradually shaped through choreographic creations (How I Caught a Falcon, Spread your Wings (Clumsy Elephant)). The nature of the film media allows us to show precisely what can only exist in outlines on the stage, in the form of reduced signs, which only suggest their connection with a concrete spatial reality.
On the one hand, Beso Nature reveals the Kovač’s entirely personal relation with the real ambiences of his birthplace, and on the other hand, artistic articulation gives this relation wider connotations and shapes it in a poetic structure of the understanding of the current world.
By portraying the man at the end of the 20th century, chasing the blurred historical forces of his own alienation, Beso Nature forms a poetic structure complementary to the extremely formal structure of the EN‑KNAP dance performances, using film media to dive deep into the nature of subjectivity, the nature of feeling and understanding of the world, which it also tries to incorporate into theatre through a formalized language of movement.
Eda Čufer
Film: XENIA ON TOUR
documentary, 12 min, 1974, Slovenia
Directed by: Filip Robar Dorin
Screenplay: Karpo Aćimović Godina, Ksenija Hribar, Filip Robar Dorin
Director of photography: Karpo Aćimović Godina
Music: archive music
Editor: Filip Robar Dorin
Performers: Ksenija Hribar, Mojmir Lasan
Production: Viba film, Ljubljana
Dance has always brought people together. A vivid metaphor of the relationship between everyday life and art, embodied by Xenia, the ballerina, and the inhabitants of the island of Susak. A tour by the cosmopolitan artist is increasingly becoming a metaphor for the feeling of being trapped in the hard laws of reality, when the dancer feels that he faith in art and beauty of expression is persistently being challenged by the signs of crisis; she wonders if her art was only a great illusion.
Film: RED SHOES
The film was awarded at the 1995 TTV Riccione festival of television, video and theatre, Italy.
Betacam SP PAL, 8 min, color
Production: Plesni Teater Ljubljana in Videoprodukcija Kregar, Ljubljana, 1994
Original title: RED SHOES
Directed by: Marina Gržinić, Aina Šmid
Choreography: Sinja Ožbolt
Dancers: Olga Kori, Fredi Fontanot, Dominika Kacin, Jana Menger, Uršula Teržan, Sabina Potočki
Music: Mario Marolt
Camera: Mirko Simič
Editing: Andrej Kregar
Sound design: Marina Gržinić, Aina Šmid
A film adaptation of the performance Red Shoes in a contemporary dance choreography by Sinja Ožbolt. The surroundings and architectural setting of the film has been carefully selected by Marina Gržinić and Aina Šmid. It is a place “with history” – a military barracks complex on Metelkova street in the centre of Ljubljana.
The military complex on Metelkova street was occupied in 1990s by Slovenian artists, cultural workers, human rights activists and peace activists, who fought with the Slovenian state and city authorities for a place for new social and artistic activities. Metelkova is a symbol of the struggle for new civil and cultural rights in Slovenia in the 1990s.